Issue link: http://papercitymagazine.uberflip.com/i/1506595
Art NOTES By Catherine D. Anspon T his autumn is defined by optimism in Dallas' art and architecture world. First up, Madrid- and Berlin-based Nieto Sobejano Arquitectos, founded 1985 by Fuensanta Nieto and Enrique Sobejano, has won the international architectural competition to transform the Dallas Museum of Art. Tapped with reimagining the inward-looking classical modernism of Edward Larrabee Barnes' 1984 building, Nieto Sobejano stood out from a field of 154 global submissions and was among six finalists who had nine weeks to develop concepts. See the winning vision on the DMA's Mezzanine Level 2 and watch these pages next month for our expanded story. The Spanish firm is known for creating adroit dialogues with historic buildings as well as archaeological sites. The DMA marks its first American commission. The submission stood out for its homage to Barnes' original design while opening up the museum and proposing a dramatic floating extension on the roof, with an ample gallery to exhibit the museum's vaunted collection of contemporary art … While you're at the DMA, discover another first: a retrospective for Mexican modernist painter Abraham Ángel (1905–1924) — a fresh look at a brilliant career that was truncated by the artist's death at 19. Ángel's vivid and fierce canvases are not only modernist masterpieces, but emblematic of Mexico City's emerging 1920s-era queer culture (September 10 – January 28). A bold debut captures attention at Erin Cluley Gallery: Madelyn Sneed- Grays, who paints portraits in a heroic photo-realist style. This UNT grad writes that her work "brings awareness to the humanity and beauty of the Black community," a goal realized in the exhibition "Black Joy." Paired with Sneed-Grays is a solo for North Texas painter Riley Holloway, who mines the language of 20th-century illustrators Norman Rockwell and J.C. Leyendecker in graceful images that celebrate family, friends, and strangers (both through September 30) … Conduit Gallery also rolls out a doubleheader, presenting two artists whose works are each informed by multi-layered practices. Rosalyn Bodycomb probes the subject of pixels via paintings that represent Einstein's concept of simultaneity. Reinhard Ziegler's installation, The Gardener of Peace, encompasses a book, drawings on vintage slates, a video, and cyanotypes (both through October 7). Watch our October issue for our feature on Daisha Board's new kunsthalle-style gallery in the Tin District, located at 2720 Bataan. "Lyte as a Rock: Hip Hop 50: The Intersection of Art, Culture, Technology, and Community," headlined by artists Jeremy Biggers, Latrise Sheriff, Tyler Upchurch, Jessica Bell, Josiah Jones, and M*Knight, inaugurates the ambitious new 7,000-square-foot space (through September 23). Board is keeping her 2111 Sylvan digs for projects with UNT College of Visual Arts and Design (first exhibition coming this month), while the season opener at her jewel box adjoining The Joule is "Who is God? Recollecting Earth's Creation Story," with works by Omar Asprilla and Atinuke Osibogun-Adeleke, organized by curator Nickolas Gaines (through September 16). Investigate Tureen, holding court in a 100-year building in Oak Cliff at 901 W. Jefferson Boulevard. The just-opened gallery/ project space is founded by art advisors Cody Fitzsimmons and Christopher Scott, whose collecting philosophy and 1969-designed Preston Bolton home in Houston was featured in our May 2023 issue. Upcoming: Alaskan Native artist Sonya Kelliher-Combs questions notions of beauty, probing the tensions between Western/Native culture, self/other, and man/nature (September 9 – October 14). Madelyn Sneed-Grays' Resilience Personified (Robin), 2023, at Erin Cluley Gallery Daisha Board at her eponymous new gallery in the Tin District JACOB CARROLL 58